Flashcards · 4ET1 · Topic 2

Component 2: Modern Drama and Literary Heritage Texts (examined) flashcards

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How is 4ET1 Component 2 set out?: 1 hour 30 minutes, 60 marks, 40% of the qualification: two 30-mark essays, Section A Modern Drama and Section B Literary Heritage Texts. Unmarked copies of the set texts are allowed.
Which modern drama texts are set for 4ET1?: A View from the Bridge, An Inspector Calls, The Curious Incident of the Dog in the Night-time (adapted by Simon Stephens), Kindertransport, and Death and the King's Horseman.
Which assessment objectives does the Modern Drama essay test?: AO1 (a personal response supported by evidence) and AO2 (how the playwright's language, stage directions, structure and form create meaning for an audience).
Why are stage directions worth analysing?: They are the playwright's deliberate choices about what an audience sees and hears, so they are markable evidence, not scenery.
What should you revise for an open-book drama paper?: Fast navigation: where key scenes and speeches sit in the text, so you can find and analyse them quickly. Word-perfect memorising matters less.

Which literary heritage texts are set for 4ET1?: Romeo and Juliet, Macbeth, The Merchant of Venice, Pride and Prejudice, Great Expectations and The Scarlet Letter.
Which assessment objectives does the Literary Heritage essay test?: AO1, AO2 and AO4. AO4 (context) is available only in this section of Component 2, so it must not be forgotten.
How do you earn AO4 in every paragraph?: Connect a specific textual choice to a named historical, social or cultural condition of the time it was written, rather than writing vaguely about "the context of the time".
What is the commonest timing failure on Component 2?: Letting the Section A drama essay overrun, which leaves Section B's context analysis rushed. Allow about 45 minutes per essay.
How does Macbeth's "Is this a dagger which I see before me" show his state of mind?: The vision of a dagger before the murder of Duncan dramatises his disturbed imagination and the pull of the deed, blurring what is real and what is guilty fantasy.